|
數位噴墨、感光膠、代針筆、墨汁、背板｜Digital inkjet print, photo emulsion, technical pen,
ink on backing board
|
2025
| 布料、刺繡｜Printed on fabric, embroidery |
2025
| 布料、刺繡｜Printed on fabric, embroidery |
2025
| 油性粉彩、鉛筆、紙張、影像輸出、麻布版｜Oil
pastel and pencil on paper; image print on linen board
85.5 x71.0x3.5cm(單件)，三件為一組 |
|
提花織布、刺繡｜Jacquard weaving,
embroidery 120.0x63.5cm |
|
油彩、碳酸鈣、畫布
｜Oil and calcium
carbonate on
canvas
194.0x130.0x5cm |
| 油彩、碳酸鈣、畫布
｜Oil and calcium
carbonate on
canvas 120.0x80.0x5cm |
| 壓克力、油彩、感光膠、 數位噴墨、 墨汁、 布料、碳酸鈣、畫布
｜Mixed Media (Acrylic, oil, photo emulsion, digital inkjet print, ink, fabric, and calcium carbonate on canvas) 尺寸依空間而定 Dim var. |
| 壓克力、油彩、感光膠、 數位噴墨、 墨汁、 布料、碳酸鈣、畫布
｜Mixed Media (Acrylic, oil, photo emulsion, digital inkjet print, ink, fabric, and calcium carbonate on canvas) 尺寸依空間而定 Dim var. |
|
代針筆、油性粉彩、描圖紙、蜂蠟、感光膠、影像輸出、玻璃紗、⿇布版
｜
Technical pen, oil pastel, beeswax, and photo emulsion with digital print on tracing paper, organdy, and linen board. 60.0x120.0x5cm |
油彩、碳酸鈣、畫布｜Oil and calcium carbonate on canvas
| 194.0x130.0x5cm |
油彩、碳酸鈣、畫布｜Oil and calcium carbonate on canvas
| 120.0x150.0x5cm |
油彩、碳酸鈣、畫布｜Oil and calcium carbonate on canvas
| 162.0x130.0x5cm |
油彩、碳酸鈣、畫布｜Oil and calcium carbonate on canvas
| 72.5x60.5x4cm |
油彩、碳酸鈣、畫布｜Oil and calcium carbonate on canvas
| 91.0x72.5x3cm |
油彩、碳酸鈣、畫布｜Oil and calcium carbonate on canvas
| 91.0x72.5x3cm |
油彩、碳酸鈣、畫布｜Oil and calcium carbonate on canvas
| 120.0x60.5x5cm |
Biography
CV
zsandra623514@gmail.com
在作品中，「白色」不僅是色彩，更是一種揭示繪畫內在狀態的媒介，使質地與碎形結構在純粹中顯現，進而構築出介於真實與虛構間的「魅像」（Phantasm），如氣候般微觀且持續流動。
近年，她在繪畫思考的基礎上，引入布料與刺繡等軟性媒材。這不僅是媒材的擴張，更將原屬於繪畫的空間與筆勢問題，轉化為具備觸感與時間性的物質實踐，延伸了感知的邊界。
Peng Yu-Tzu (b. 1996, Taiwan)Peng’s practice centers on a "folded perspective of painting," exploring the logic of materializing pictorial space through fragmentation, ruptures, and non-continuous structures. She perceives fragmentation not as a state of negation, but as a site of potential for transformation and reconfiguration. In her work, deconstruction and reconstruction serve as vital strategies that propel the evolution of her visual language.
White functions as a primary medium to unveil the internal states of her paintings, bringing tactile textures and fractal structures into sharp relief. Her works gradually manifest as a kind of "phantasm"—a subtle, shifting climate suspended between reality and fiction.
In recent years, building upon her painterly inquiry, Peng has incorporated soft materials such as fabric and embroidery. This shift translates the spatial and gestural concerns inherent in painting into a more tactile, time-based, and fluid mode of practice, further extending the boundaries of her sensory exploration.
2025
藝術學士，國立台灣藝術大學 美術學系 繪畫組
2018
M.F.A., Department of Fine Arts, Major in Painting, Taipei National University of the Arts, Taiwan
2025
B.F.A., Department of Fine Arts, National Taiwan University of the Arts, Taiwan
2018
小叉錯
窯座，台中，台灣
2026
瀲瀲
當代一畫廊，台北，台灣
2025
鄰近之間的舵手
金車文藝中心承德館，台北，台灣
2024
一處鏡子花園
就在藝術空間，台北，台灣
2024
聯展/活動
有待延續的痕跡
襲園美術館，桃園，台灣
2025
台北國際藝術博覽會
名山藝術，台北，台灣
2025
Fly Me to the Moon
C square Gallery ，台中，台灣
2025
釜山藝博
C square Galley , 釜山，韓國
2025
感覺的隱密支點
木木藝術，台南，台灣
2024
新北市美術家聯展
新北市藝文中心，新北，台灣
2024
現實與夢的共振
名山藝術，台北，台灣
2024
台北國際藝術博覽會
名山藝術，台北，台灣
2024
草地上的美術課
台中市立美術館社區共創暨藝術活動，台中，台灣
2024
移動的隱喻：一個空間的生成
ss space space，新北，台灣
2023
植光穿梭
名山藝術，新竹，台灣
2023
42.195 Eco-manner
理善藝聚空間，台北，台灣
2022
潮’限定 - 國際當代潮流藝術展
亞米藝術，台中，台灣
2022
台北國際藝術博覽會
就在藝術空間，台北，台灣
2021
卡拉之卵-108級北藝大美術學系碩士班級展
地下美術館，台北，台灣
2021
爛石與枯海：歐靜雲、彭禹慈、陳俊宇三人展
就在藝術空間，台北，台灣
2020
肆個展
台灣美術院藝術空間，台北，台灣
2019
人造關係
美麗永安生活會館，新北，台灣
2018
展覽一下
九單藝術實踐空間，新北，台灣
2017
21g
龍山寺板橋文化廣場，新北，台灣
2016
Absent|不在場攝影聯展
大觀藝廊，新北，台灣
2016
微型計畫－藝術家的工具箱
士林公民會館，台北，台灣
2015
Solo Exhibitions
Flicker
Yáo, Taichung, Taiwan
2026
Starwater
A Gallery, Taipei, Taiwan
2025
The Navigators of Intimate Proximities
King Car Cultural & Art Center, Taipei, Taiwan
2024
A Garden of Mirrors
Project Fulfill Art Space, Taipei, Taiwan
2024
Group Exhibitions
Traces to the Continued
A.Heritage, Taoyuan, Taiwan
2025
Art Taipei
MingShan Art, Taipei, Taiwan
2025
Fly Me to the Moon
C Square Gallery, Taichung, Taiwan
2025
Art Busan
C Square Gallery, Busan, Korea
2025
Art Taipei
MingShan Art, Taipei, Taiwan
2024
The Invisible Fulcrum of Senses
MUMU Gallery, Tainan, Taiwan
2024
New Taipei City Joint Exhibition
New Taipei Arts Center, New Taipei, Taiwan
2024
The Resonance of Reality and Dreams
Mingshan Art, Taipei, Taiwan
2024
Art Classes on the Green
Taichung Art Museum Co-Creative and Art Activities, Taichung, Taiwan
2024
Moving Metaphors : The Genesis of a Space
ss space space, Taipei, Taiwan
2023
A Flicker of Light Through the Foliage
Mingshan Art, Hsinchu, Taiwan
2023
42.195 Eco-manner
Lishan Art Space, Taipei, Taiwan
2022
Freestyle-Contemporary Art Pop-Up Show
Yami Art Space, Taichung, Taiwan
2022
Art Taipei
Project Fulfill Art Space, Taipei, Taiwan
2021
KARENOTAMAGO - Taipei University Of the Arts Master’s Evaluation Exhibition
Underground Experimental Field, Taipei, Taiwan
2021
Obliteration - An Exhibition of OU Jing-Yun, PENG Yu-Tzu, CHEN Jun-Yu
Project Fulfill Art Space, Taipei, Taiwan
2020
Unbridled solo Exhibition
Taiwan Academy of Fine Arts Art Space, Taipei, Taiwan
2019
Artificial Relationship
Yongan Living Arts Center, Taipei, Taiwan
2018
Exhibition it
Nine-Rooms Art Practice Space, Taipei, Taiwan
2017
21g
Longshan Banqiao Cultural Square, Taipei, Taiwan
2016
Absent|Photography Group Exhibition
Grand Vista Gallery, Taipei, Taiwan
2016
Mini-Plan-Artist’s Toolbox
Shilin Public Assembly Hall, Taipei, Taiwan
2015
2024
ArtBank, Taichung, Taiwan
2024
2024
〔 陳譽仁 〕, “ 〔 越界的風景與感覺的事物 —聯展《感覺的隱密之點》〕, 台新藝術評論(網站)
2024
Last Updated 24.10.31
zsandra623514@gmail.com
1996 年出生於台灣。創作核心圍繞「摺曲」的繪畫觀展開，透過碎裂、斷面與非連續性的結構，探討繪畫空間的具現邏輯。認為「破碎」並非消極的終點，而是蘊含轉化與重構契機的動態過程；透過不斷地解構與重建，推動視覺語言的演變。
在作品中，「白色」不僅是色彩，更是一種揭示繪畫內在狀態的媒介，使質地與碎形結構在純粹中顯現，進而構築出介於真實與虛構間的「魅像」（Phantasm），如氣候般微觀且持續流動。
近年，在繪畫思考的基礎上，引入布料與刺繡等軟性媒材。這不僅是媒材的擴張，更將原屬於繪畫的空間與筆勢問題，轉化為具備觸感與時間性的物質實踐，延伸了感知的邊界。
Peng Yu-Tzu (b. 1996, Taiwan)Peng’s practice centers on a "folded perspective of painting," exploring the logic of materializing pictorial space through fragmentation, ruptures, and non-continuous structures. She perceives fragmentation not as a state of negation, but as a site of potential for transformation and reconfiguration. In her work, deconstruction and reconstruction serve as vital strategies that propel the evolution of her visual language.
White functions as a primary medium to unveil the internal states of her paintings, bringing tactile textures and fractal structures into sharp relief. Her works gradually manifest as a kind of "phantasm"—a subtle, shifting climate suspended between reality and fiction.
In recent years, building upon her painterly inquiry, Peng has incorporated soft materials such as fabric and embroidery. This shift translates the spatial and gestural concerns inherent in painting into a more tactile, time-based, and fluid mode of practice, further extending the boundaries of her sensory exploration.
EXHIBITIONS
SELECTED WORKS
CV